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Old 04-11-2019, 03:25 PM   #121
Shadaloo
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It's not terrible, but it's safe more often than it isn't - which is part and parcel of it being a sober TR looking back and commenting on a drug fueled hedonistic experience. Two of the tracks were orignarly meant to be shoved onto a greatest hits package. When it's good it's great, but it's an unfocused work. And it really, really fucking needed some live drums.

Still listen to it every so often, but the EP trilogy is also an examination of himself at that point in his life but also going "what if I never got off that path" and the results are way more musically interesting and consistently great. Burning Bright kinda sounds like Jesu FFS

 
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Old 04-11-2019, 04:36 PM   #122
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I like Hesitation Marks!
Some of it is lacking, but I love the concept as this restrospective of Trentís dark but most creative period. I love the little call-outs to TDS throughout the album, combined with the artwork.
Some of it drags and some of it is dad rock.
Some of it is brilliant though. It never hits the lows of WT, but I donít think HM hits the highs of WT either.

 
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Old 04-19-2019, 07:45 AM   #123
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I don’t find myself revisiting hesitation marks. It’s good but somethings missing. All of you trashing on the slip need to get better opinions.

 
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Old 04-22-2019, 10:12 AM   #124
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Quote:
Originally Posted by Eulogy View Post
I donít find myself revisiting hesitation marks. Itís good but somethings missing. All of you trashing on the slip need to get better opinions.
I always will have a soft spot for The Slip because it came out during the absolute height of my NIN fandom. That was an amazing time to be an NIN fan. Year Zero, Ghosts and The Slip, and then The Social Network soundtrack.

 
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Old 04-22-2019, 02:16 PM   #125
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It's kind of crazy that I think "the best time to be a NIN fan" is also Trent's worst musical period. Like, don't get me wrong, I fucking love Year Zero conceptually and With Teeth, while his weakest as a whole by a fair margin, has some of his best individual songs, but you can tell Trent is just kind of missing the sort of visceral engagement with his art that made everything prior to that time so damn unique. That being said, he was still incredibly prolific for a solid five year stretch that saw him pushing boundaries constantly, even if the music itself wasn't quite as unforgettable as it had been before. I'll never forget skipping school just so I could listen to The Slip over and over when it was dropped by surprise, and the live band was just incredible at this time.

I was really happy with Hesitation Marks when it came out, and I still think of it as a solid, mature effort. There's something about it that doesn't really "feel" like Nine Inch Nails - almost like it's a record about Nine Inch Nails rather than by Nine Inch Nails - but I find it really easy to listen to as a whole and I tend to enjoy it a lot whenever I put it on.

The trilogy feels like a real breakthrough creatively. NtAE and AV felt like Trent dabbling into different "types" of Nine Inch Nails or industrial rock songs- "She's Gone Away" is a seedy, dark burner, "The Idea of You" is kind of thrashy, almost reminiscent of Ministry in some ways, "Burning Bright" sounds like Godflesh, "Less Than" sounds like rocky, radio friendly WT/TS NIN, and a lot of AV really goes into the more organic/atmospheric side of Trent's sound.... and then Bad Witch just says fuck parceling all this out, we're going to immerse, all at once and head first. It's cacophonous and terrifying and I felt shocked from it in a way I hadn't since I listened to TDS for the first time years and years ago.

When Trent creates narrative in HM, it feels so smooth and safe. He's doing it from a reflective distance, where there's no consequence; we know the protagonist is going to get out safe in the end, and so does he. Playing with the fractured pieces of the past and examining the edges up close isn't so scary. The Trilogy's self examination has none of this feel. It is rough, it is dangerous-- it hints at narrative being there, but the narrative is dirty and damaged. It's like you're putting together a puzzle, get a solid 3/4 of the way through, and the pieces stop fitting. At first it's frustrating, but then you notice that each time you notice a piece doesn't fit, more and pieces have been added to the box, and soon it's terrifying. A puzzle with too many pieces that just don't fit together. Coherence disappears into the static and is gone before you even realize it. The truth in Trent's examination here is blurry as fuck: it's always asking, how did I get here? Bad Witch is so visceral and damning in its uncertainty. The feeling the music gives me is the same feeling I get when I try to make sense of our current historical moment. Authenticity feels impossible because it no longer feels worthwhile and it's all so goddamn sad. I fucking hate Trump

Last edited by LoveIsSuicide42 : 04-22-2019 at 02:26 PM.

 
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Old 04-23-2019, 08:41 AM   #126
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1) Downward Spiral
2) who cares?

 
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Old 04-23-2019, 11:34 AM   #127
Mals Marola
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people who've heard more than just Downward Spiral

 
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Old 04-23-2019, 11:59 AM   #128
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Quote:
Originally Posted by NovaFritz View Post
2) who cares?
fixerooni

 
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Old 04-23-2019, 12:11 PM   #129
Mals Marola
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people who listen to music for themselves and not so "urbanites" think they're cool

 
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Old 04-23-2019, 12:12 PM   #130
Mals Marola
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I CAN DO THIS ALL DAY BABY

 
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Old 04-23-2019, 07:22 PM   #131
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Quote:
Originally Posted by LoveIsSuicide42 View Post
It's kind of crazy that I think "the best time to be a NIN fan" is also Trent's worst musical period. Like, don't get me wrong, I fucking love Year Zero conceptually and With Teeth, while his weakest as a whole by a fair margin, has some of his best individual songs, but you can tell Trent is just kind of missing the sort of visceral engagement with his art that made everything prior to that time so damn unique. That being said, he was still incredibly prolific for a solid five year stretch that saw him pushing boundaries constantly, even if the music itself wasn't quite as unforgettable as it had been before. I'll never forget skipping school just so I could listen to The Slip over and over when it was dropped by surprise, and the live band was just incredible at this time.

I was really happy with Hesitation Marks when it came out, and I still think of it as a solid, mature effort. There's something about it that doesn't really "feel" like Nine Inch Nails - almost like it's a record about Nine Inch Nails rather than by Nine Inch Nails - but I find it really easy to listen to as a whole and I tend to enjoy it a lot whenever I put it on.

The trilogy feels like a real breakthrough creatively. NtAE and AV felt like Trent dabbling into different "types" of Nine Inch Nails or industrial rock songs- "She's Gone Away" is a seedy, dark burner, "The Idea of You" is kind of thrashy, almost reminiscent of Ministry in some ways, "Burning Bright" sounds like Godflesh, "Less Than" sounds like rocky, radio friendly WT/TS NIN, and a lot of AV really goes into the more organic/atmospheric side of Trent's sound.... and then Bad Witch just says fuck parceling all this out, we're going to immerse, all at once and head first. It's cacophonous and terrifying and I felt shocked from it in a way I hadn't since I listened to TDS for the first time years and years ago.

When Trent creates narrative in HM, it feels so smooth and safe. He's doing it from a reflective distance, where there's no consequence; we know the protagonist is going to get out safe in the end, and so does he. Playing with the fractured pieces of the past and examining the edges up close isn't so scary. The Trilogy's self examination has none of this feel. It is rough, it is dangerous-- it hints at narrative being there, but the narrative is dirty and damaged. It's like you're putting together a puzzle, get a solid 3/4 of the way through, and the pieces stop fitting. At first it's frustrating, but then you notice that each time you notice a piece doesn't fit, more and pieces have been added to the box, and soon it's terrifying. A puzzle with too many pieces that just don't fit together. Coherence disappears into the static and is gone before you even realize it. The truth in Trent's examination here is blurry as fuck: it's always asking, how did I get here? Bad Witch is so visceral and damning in its uncertainty. The feeling the music gives me is the same feeling I get when I try to make sense of our current historical moment. Authenticity feels impossible because it no longer feels worthwhile and it's all so goddamn sad. I fucking hate Trump
Year Zero is Trentís third masterpiece

Get fucked

 
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Old 04-24-2019, 10:03 AM   #132
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The Downward Spiral
The Fragile
Broken
Not The Actual Events / Add Violence / Bad Witch
Pretty Hate Machine
Still
Ghosts I-IV

 
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Old 04-24-2019, 02:32 PM   #133
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god tier:
Downward Spiral
The Fragile
Broken
And All that Could Have Been/Still

Top tier:
PHM
With Teeth
Year Zero

perfectly fine tier:
The Slip
Hesitation Marks
Ghosts

forgive me if I am forgetting something. The new stuff is enjoyable, but I haven't listened to it much

best karaoke song at the chotch dive bar: Deep

 
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Old 04-25-2019, 05:26 PM   #134
LoveIsSuicide42
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Quote:
Originally Posted by ninsp View Post
Year Zero is Trentís third masterpiece

Get fucked
Hey fuck you. I love Year Zero and it was my first NIN album. The ARG was fucking incredible to lose myself in, too. It's like a 8.5/10 album for me. Just a hair short of TDS, TF, and the trilogy.

 
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Old 07-05-2019, 08:31 PM   #135
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hey guys, I just took an IQ test and my results came back in
I have an IQ of 135, is that enough to be able to understand bad witch?

 
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